지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2019.12
- 수록면
- 269 - 291 (23page)
- DOI
- 10.46834/jkmcah.2019.12.38.269
이용수
초록· 키워드
오류제보하기
Youngseonsa"s goal was to learn modern technical education in Tianjin, the Qing Dynasty, where the young talents of Joseon accepted the preceding artifacts. Unlike the Sinsayuramdan, which were formed mainly by Yangban(兩班), the company was made up of Jungin(中人) and artisan. Of course, it was aimed at introducing "technology" to learn direct weapons manufacturing technique, and it was actually participated by working and artisans and Jugin rather than Yangban. Most of them were those who had been in the business or started to act as management of Joseon. Among the students who came back with Kim Yun-sik after studying diligently and patriotically without falling in the middle as an academic, there were Ko Youngcheol, Cho Tae-won, and Ahn Wook-sang. Ahn Wook-sang(1833-1919) was Ahn Jung-sik, the last palace painter and an leaer of the modern calligraphy system, and Cho Tae-won was Cho Seok-jin(1853-1920).
Just as Ko Young-cheol came back to Korea in late 1882 and returned to the office in early 1883, he had a new job in teaching and publishing foreign languages in accordance with the system he had learned in China. Also, Kim Yun-sik"s confidence in Ko Youngcheol was overwhelming. Ko Hui-dong, the son of Ko Young-cheol is called the first Western painting artist. He attended the school of French Language and served as an injection to the headquarters. He learned to draw pictures with Cho Seok-jin and Ahn Jung-sik after Lee Doyoung(1884-1933). As painters, they painted paintings and interacted with them at the center of the enlightenment party.
Research on Youngsunsa has been conducted in depth in various fields. In contrast to the historical research, this researcher noticed that those who participated as members of Yeongsunsa played an important role in modern art. Therefore, we confirmed the members who participated in Youngsunsa such as Kim Yun-sik, Ko Young-cheol, Ahn Jung-sik and Cho Seok-jin in the members of Seohwa Association. In particular, I grasped the process of association with the members of Seohwa Art Society and Seohwa Association and established the relationship between them. In other words, the purpose of the association was to transform the position from artisan to modern artist.
With the relationship between Cho Seok-jin, Ahn Jung-sik, and Ko Young-cheol, it is possible that Ko Young-cheol, as a father when the world is disturbed, invited his son to enter the world of art. So he sent his son to Cho Seok-jin and Ahn Jung-sik of old friends to study painting. He was the son of a friend who leaned together in a dizzy world. To their mentor, Ko Hui-dong was different from any disciples. Later, it became possible for Kim Yun-sik to become a member of the Seowha Association in the context of their relationship.
Ko Young-cheol, who Kim Yun-sik had trusted, was a writer of the third episode, Ahn Jung-sik and Cho Seok-jin were professional painters, and Ko Young-cheol"s son Ko Huidong learned paintings as the disciples of these two painters and became Korea"s first Western painting artist. During the ceremony of the 3.1 movement, a number of literary men and ethnic Koreans, including national representatives, came to Kyungmuk-dang and Seohwa Art Hall. The modern intellectuals planned the future of the nation by discourse and criticism in the reception room of the artist.
Just as Ko Young-cheol came back to Korea in late 1882 and returned to the office in early 1883, he had a new job in teaching and publishing foreign languages in accordance with the system he had learned in China. Also, Kim Yun-sik"s confidence in Ko Youngcheol was overwhelming. Ko Hui-dong, the son of Ko Young-cheol is called the first Western painting artist. He attended the school of French Language and served as an injection to the headquarters. He learned to draw pictures with Cho Seok-jin and Ahn Jung-sik after Lee Doyoung(1884-1933). As painters, they painted paintings and interacted with them at the center of the enlightenment party.
Research on Youngsunsa has been conducted in depth in various fields. In contrast to the historical research, this researcher noticed that those who participated as members of Yeongsunsa played an important role in modern art. Therefore, we confirmed the members who participated in Youngsunsa such as Kim Yun-sik, Ko Young-cheol, Ahn Jung-sik and Cho Seok-jin in the members of Seohwa Association. In particular, I grasped the process of association with the members of Seohwa Art Society and Seohwa Association and established the relationship between them. In other words, the purpose of the association was to transform the position from artisan to modern artist.
With the relationship between Cho Seok-jin, Ahn Jung-sik, and Ko Young-cheol, it is possible that Ko Young-cheol, as a father when the world is disturbed, invited his son to enter the world of art. So he sent his son to Cho Seok-jin and Ahn Jung-sik of old friends to study painting. He was the son of a friend who leaned together in a dizzy world. To their mentor, Ko Hui-dong was different from any disciples. Later, it became possible for Kim Yun-sik to become a member of the Seowha Association in the context of their relationship.
Ko Young-cheol, who Kim Yun-sik had trusted, was a writer of the third episode, Ahn Jung-sik and Cho Seok-jin were professional painters, and Ko Young-cheol"s son Ko Huidong learned paintings as the disciples of these two painters and became Korea"s first Western painting artist. During the ceremony of the 3.1 movement, a number of literary men and ethnic Koreans, including national representatives, came to Kyungmuk-dang and Seohwa Art Hall. The modern intellectuals planned the future of the nation by discourse and criticism in the reception room of the artist.
목차
Ⅰ. 머리말
Ⅱ. 영선사의 미술인
Ⅲ. 영선사 일행의 교유와 근대미술
Ⅳ. 맺음말
참고문헌
Abstract
참고문헌 (50)
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